The Duke of Windsor`s cream silk jacket by Metzel, American, 1944, with tailor`s label dated 7/18/44 and bearing the Duke`s name, double breasted with plain mother of pearl buttons, chest 96cm, 38in; together with Hawes & Curtis grey and red checked bow tie, finely checked grey and white shirt with royal cypher; cotton dress shirt with wing collar, embroidered `E` to the label, a thistle shaped pique bow tie and matching waistcoat, (6). Provenance: Sotheby`s Duke & Duchess of Windsor Auction, September 11-19th, 1997, lot 2857, 2852, 2090
We found 227115 price guide item(s) matching your search
There are 227115 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
227115 item(s)/page
A group of Duke of Windsor Hawes & Curtis shirts and accessories circa 1940-53, comprising: soft beige cotton shirt, another of blue and white plaid, another woven with fine quatrefoils; a white dress shirt with fold-over collar, all with Duke`s cypher embroidered to the breast; together with five white pique waistcoats and a matching thistle shaped bow tie embroidered in red with Duke`s cypher; and a quantity of assorted collars and cuffs, average chest size 97cm, 38in (qty). Provenance: Sotheby`s Duke & Duchess of Windsor Auction, September 11-19th, 1997, lot 2852, 2900, 2924
A group of Duke of Windsor Hawes & Curtis shirts and accessories circa 1940-53, comprising: soft beige cotton shirt, another of fine window pane check, two white dress shirts with fold-over collars, all with royal cypher embroidered to the breast; two white pique waistcoats and two matching thistle shaped bow ties, average chest size 97cm, 38in, (qty). Provenance: Sotheby`s Duke & Duchess of Windsor Auction, September 11-19th, 1997, lot 2852, 2900, 2924.
A rare Agnes/Madame Havet orientalist brocaded silk cocktail dress, circa 1925, labelled `Agnes, Madame Havet, 7 Rue Auber, Made in France`, the ming-style brocade in blue, orange and green highlighted in gold, the black satin pagoda sleeves, hem and collar with blue and gold embroidery, bust 101cm, 40in
A Mary Quant black and white wool day dress, 1963, labelled, the houndstooth check bodice over striped skirt with large black buttons, bust approx 92cm, 36in; together with a photograph of the dress being modelled by Jean Shrimpton, (2). This dress was modelled by Jean Shrimpton and photographed by John French for The Sunday Times, February 17 1963, cf p.136 `John French: Fashion Photographer`. It is noted that the dress cost 25 gns.
Yves Saint Laurent, 1970s, comprising: couture navy velvet cocktail dress, labelled and numbered 50281; black taffeta cocktail dress with tulle petticoats, labelled and numbered 46780; boutique silver sequined bodice; brocaded chiffon blouse; pleated chiffon cocktail dress with separate ruff collar, un-labelled, (qty)
Bill Gibb/Kaffe Fassett knitwear, Autumn-Winter 1977-8, comprising: terracotta wool smock dress with deep rolled collar, overall pine-cone and window pane check pattern; together with matching pair of leggings, beret; a roll neck sweater, a tartan skirt; a short jacket with box pleat to the back and blouson sweater with deep ribbed V-neck, sweater bust 97cm, 38in; together with xerox designs of the smock dress, blouson sweater and polo-neck sweater, (11). cf `Bill Gibb: Fashion & Fantasy` by Iain R.Webb p.77 for a contemporary fashion photograph of the smock dress ensemble
A Bill Gibb whitework and sequined ensemble for Kate Franklin, mid season, 1973 and matching sketch, un-labelled, comprising cream cheesecloth halter-neck dress with cream embroidery; the matching jacket embroidered in pink with green and silver sequins, jacket bust 97cm, 38in; the ink sketch with attached fabric swatch annotated `To my dearest Kate who I hope never suffers from anorexia looking at this jacket. In joke!! Fondest love always Billy x`, 25 by 20cm within frame and mount, (3)
An early John Galliano bias-cut cream wool dress, probably Autumn-Winter, 1985, un-labelled, of heavy woollen blanket material with curved sleeves cut very narrow at the shoulder, ties to front high waist, bust approx 86cm 34in. An identical dress was sold in these rooms as lot 243, December 4th, 2008
A group of black/steel-grey Azzedine Alaia garments, late 1980s-early 90s, comprising: black knitted dress with broad waistband; elastane body with narrow back-straps; knitted cross-over bodice; gored faggotted skirt; and a simple knitted viscose tunic dress, average size bust 86cm, 34in, M, S, MS; together with a photograph of Marie wearing the body, (5)
An Azzedine Alaia Prince of Wales checked jacket, late 1980s-early 1990s, the double-breasted jacket with trench-coat like panels; with almost identical skirt by David Chambers; and a pair of Joseph wide legged knitted silken trousers, chest 86cm, 34in; and a black scoop necked velvet dress with plunging back, size L, (4)
An early Stella McCartney bottle green and black lace bias-cut chemise dress, circa 1995, with simple school-style name tag to the interior and size 10;, together with a print by David Downton of Marie Helvin wearing the gown, bust 86cm, 34in (2). This gown was purchased from Stella`s graduation collection, from the small boutique Tokio.
A group of mainly black evening ensembles, 1980s-90s, including black lace corset-style Norma Kamali cocktail dress and a black jersey body with cross-over front; an unlabelled Georgio St Angelo stretch-velvet cocktail dress; a Gnuyki velvet gown with sequined skirt and a halter-neck of plain black jersey; an unlabelled Dolce & Gabbana cutwork `black widow` dress, and others, average size bust 86cm, 34in; together with a photo of Marie wearing the cutwork dress and the Kamali corset dress, (11)
Two Azzedine Alaia cocktail dresses, late 1980s, early 90s, comprising: a black knitted figure-hugging dress, labelled size S; together with a dark brown jersey halter-neck dress with draped bust panels, average size bust 86cm, 34in; together with a photograph of Marie wearing the black dress (3)
A group of letters and a telegram related to the betrothal of James Hanson and Audrey Hepburn dated September-November 1952, comprising: four letters from James Hanson to Tanja Star-Busmann relating to the postponement and finally cancellation of the planned wedding; a telegram from Audrey to Tanja dated August 3rd, 1952 sent from Ciampino airport asking her to be a bridesmaid on 30th September; a letter from Audrey dated 6 November sent from Chicago telling Tanja to wear the Òpink dress, (the bridesmaid dress)É I would love to think you`d wear it at some gay party.Ó (6). See lot 333 for Audrey`s wedding gown, designed for her by the Fontana sisters.
The Givenchy haute couture black chantilly lace cocktail dress, worn in ÒHow to Steal a MillionÓ, 1966, comprising: lace cocktail gown with wrap-over back, high neck with scalloped edge, side fastenings, the full skirt edged in a flounce stiffened with horsehair, narrow black patent belt, worn over a black silk petticoat, labelled and numbered 30.361, the matching jacket with narrow Givenchy label to the neck, bust 86cm, 34in, waist 61cm, 21in; together with a photograph of Audrey wearing the gown, (5). Audrey wears this ensemble in the Ritz bar scene of the film, where her character dons a matching lace face mask over glittery eye-makeup in order to disguise herself. Her attempt not to draw attention to herself in this stunning creation spectacularly failed! Hubert de Givenchy created a similar, though not identical, cocktail gown as part of the haute couture collection, Autumn-Winter 1966, model 432.
A Givenchy haute couture turquoise cloque silk cocktail gown, Autumn-Winter 1966, labelled and numbered 33517, edged in a tousled band of frayed floss silk, slit back opening with cord to neck, wide sash to waist, bust 86cm, 34in, waist 66cm, 26in; together with a portrait photograph of Audrey wearing the gown, (2). This gown was produced as part of Givenchy`s Winter 1966 collection, model no 461. Audrey wore this dress to promote the film `Two for the Road`, released in 1967.
A Givenchy haute couture black gazar cocktail gown, Autumn-Winter, 1966, un-labelled, the tunic over dress and underskirt edged with diamante, the silk underskirt with hem similarly trimmed, tie belt, bust 82cm, 32in, waist 71cm, 28in; together with a xerox of the Givenchy model book showing the model, (3). This gown formed part of Givenchy`s haute couture collection, model 426, Autumn-Winter, 1966.
A Givenchy haute couture black cloque silk dress worn to promote the film ÒParis When it SizzlesÓ, 1962, labelled and numbered 23093, the empire-line bodice cut high at the front and low at the back, rear bow ties, bust 86cm, 34in, waist 66cm, 26in; together with a publicity photograph by Bob Willoughby of Audrey wearing the gown accompanied by her dog `Famous`, (2). Although the film was made in 1962 the release was strategically delayed for two years until 1964
A Valentino haute couture cream lace and silk mini dress, Spring-Summer 1968, model 206, unlabelled, with soft fold-over collar and ties to rear neck, the silk crepe de chine inset with scalloped bands of blonde lace, bust 82cm, 32in. This gown is identical to that worn by Jacqueline Kennedy for her wedding to Aristotle Onassis June 1968.
A Givenchy black point d`esprit ball gown, 1956, un-labelled, with boned, fitted bodice edged in black lace spangled with sequined, the tulle over-skirt caught into the sequined hem band, bust 76cm, 30in, waist 56cm, 22in; together with a photograph of Audrey holding the white version of the dress Givenchy ball gown which Audrey wore in `Love in the Afternoon`, (2). Audrey wore the identical dress in white for her role as Ariane in the film `Love in the Afternoon` during the Opera scene, released in 1957 (see lot 332). If Audrey liked a particular model she often ordered it in several colour-ways. Hubert de Givenchy also included this model in his haute couture collection 1956.
The ivory satin bridal gown designed for Audrey Hepburn by the Fontana Sisters for her marriage to James (later Lord) Hanson in 1952 which did not take place, un-labelled, of heavy ivory satin, with wide boat neckline, pleats of fabric to the bodice front converging on a bow at the waist, three quarter length sleeves, zip fastened to the back with trained skirt, bust 92cm, 36in, waist 66cm, 26in; together with a letter of provenance from Amabile Altobella; a quantity of press cuttings relating to the gown; and a photograph of Audrey at a Fontana fitting wearing the original gown, (qty). The Fontana sisters were renowned for their highly romantic ball gowns and bridal gowns. The sisters Zoe, Micol and Giovanna founded their business in Rome in 1944. They counted among their clientele many celebrities including Audrey Hepburn, Ava Gardner, Elizabeth Taylor, Princess Grace of Monaco and Jackie Kennedy. In 1952, whilst Audrey Hepburn was filming `Roman Holiday` with Gregory Peck in Rome, she approached the Fontana sisters to ask them to make her bridal gown. Signora Micol Fontana said that the 23 year old Hepburn was `young, fresh, on top of the world`. She used to slip away from the set to take refuge in the sewing rooms and discuss the dress. "Audrey wanted complete discretion and had lots of fittings". Some weeks later when Audrey called off the planned wedding to James Hanson she asked the eldest of the sisters-Zoe to give the dress away. "I want my dress to be worn by another girl for her wedding, perhaps someone who couldn`t ever afford a dress like mine, the most beautiful, poor Italian girl you can find." Zoe`s search centred on the town of Latina which had been founded by the fascists in 1932. The dress was given to a poverty stricken young Italian girl called Amabile Altobella, which coincidentally was the same Christian name as the Fontana sister`s mother. Amabile visited Rome just once to have the dress adapted by the Fontana sisters for her to wear at her own wedding to farm worker Adelino Solda with whom she remained happily married, producing three daughters and five grandchildren. Amabile said "I have had a happy marriage, so the dress brought me luck". The town council gave the young couple kitchen furniture and even organised a honeymoon for them in Paris. After the event she carefully wrapped the dress in tissue paper and stored it away without disturbing it for decades. It was not until 2002 when Micol Fontana, the last survivor of the three sisters traced the gown for a retrospective exhibition of their work, that it was re-discovered.
A Dresden porcelain wall mirror, in the form of a stylized harp with central mirror flanked by flower encrusted border with flying cherub upon scrolled base, height 20 cm, together with a Dresden porcelain wall mirror, with colourful floral encrusted surround and two cherubs, height 35 cm, a pair of Continental figures, modelled as a male and female in 18th century dress standing upon circular vitruvian decoration bases, height 15 cm, a Dresden `Yardley` porcelain figural group, a porcelain spill vase, modelled as a tree trunk with playful children entwining the trunk, height 12 cm, impressed mark EBS 60, a musician figurine, modelled beside a floral jardiniere and stand, height 14 cm, a figurine of a man opening a beer bottle in blue and white, height 21 cm and a further figurine, (9).
Circle of William Hoare of Bath, RA 1706-1799- Portrait of a young gentleman, sitting as a scholar, bust-length, in academic dress wearing a black mortar board with gold tassel, tied white stock, black gown over a dark coat with large gold buttons, large black bow-tied cravat; oil on canvas, 59x46cm, (unframed)
Circle of John Hayles c.1600-1679- Portrait of a young woman, bust-length, with dark curled hair, wearing a brown dress with white lace and pearl sash; Portrait of a young gentleman, bust-length, long dark hair worn natural, wearing possibly elements of a military uniform with tied white lace stock, white satin doublet and short golden cape with leather and brass belts and buckles; oil on canvas, ovals, a pair, in matching carved and gilded oval frames, with beaded sight-edge, fluted hollow, egg-and-dart course schematic outer-edge, (2) Note: John Hayles, relative of the miniaturist Samuel Cooper, competitor of Sir peter Lely and respected by his contemporaries for his replicas of the portraits of van Dyke. These paintings show all the elements expected of a fashionable portrait painter of the day in particular Michael Dahl 1659-1743, Mary Beale 1632-1697,and Willem Wissing 1656-1687 all these working from the ideals laid down by such painters as van Dyke, and the larger studios of Kneeler 1646-1723 and lely 1618-1680. His famous work being the portrait of the diarist Samuel pepys; Extract from Pepys diary, 17 March 1666: ...at noon, home to dinner, and presently with my wife out to Hales`s, where I am still infinitely pleased with my wife`s picture. I paid him 14l for it, and 25s for the frame, and I think it is not a whit too dear for so good a picture. It is not yet quite finished and dry, so as to be fit to bring home yet. This day I begin to sit, and he will make me, I think, a very fine picture. He promises it shall be as good as my wife`s, and I sit to have it full of shadows, and do almost break my neck looking over my shoulder to make the posture for him to work by.
* A sapphire and diamond ring, stamped `14K`, the oval cut with a pair of channel set diamonds to each shoulder, totalling approximately 0.12 carats, finger size N; and nine 9 carat gold dress rings, some stone set, 22g gross To be sold on behalf of the Police (3C24099) and is subject to VAT on the hammer price Visit www.dnfa.com for condition reports
-
227115 item(s)/page